{"title":"Chamber Music \u0026 Recitals CDs","description":"\u003cp\u003eChamber Music \u0026amp; Recitals CDs\u003c\/p\u003e","products":[{"product_id":"a-baroque-celebration-pederson-new-york-kammermusiker-247075","title":"A Baroque Celebration \/ Pederson, New York Kammermusiker","description":"\u003cp\u003eIncludes work(s) by Jean-Baptiste Lully, Henry Purcell, various composers, F-André Danican Philidor.  Ensemble: New York Kammermusiker.  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Comprised largely of well-to-do New Englanders who were trained in Europe by way of Harvard and worshipped Brahms, they were a pretty conservative bunch all around.  Prominent among them was Arthur Foote of Salem, Massachusetts.  His studies with John Knowles Paine at Harvard culminated in the first graduate degree in music ever granted by an American university and though he did not go on to study in Germany, he spent the following summer at Bayreuth soaking up the rays before returning to Boston to teach, compose and serve as choirmaster and organist of the First Unitarian Church.\u003cbr\u003eFoote's chamber music is strongly influenced by Mendelssohn and Brahms, neoclassical in outlook, graceful and lyrical with little hint of storm or stress.  This disc, featuring the Piano Quintet along with the Op. 32 and Op. 70 string quartets, is one of two of all-Foote releases which are part of Naxos' admirable American Classics series.  The recordings feature the Da Vinci Quartet, a very good Colorado-based ensemble which has undertaken the performance of all of this composer's chamber works.","brand":"Naxos","offers":[{"title":"CD","offer_id":44627012780266,"sku":"636943900925","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/243533.jpg?v=1778347521"},{"product_id":"american-classics-macdowell-piano-music-vol-3-94440","title":"American Classics - MacDowell: Piano Music Vol 3 \/Barbagallo","description":"One of the most important contributions Edward MacDowell made to American  music was his reputation: born in New York City, trained in Paris and  Vienna, he was the first Native-American composer to win respect in  Europe. Among his supporters were Grieg and Liszt, and while MacDowell's music is frequently compared to the Norwegian master's for its lyricism and use of folk melodies--heard in miniatures such as the 'Forgotten Fairy Tales'--there is also strong affinity to the Faustian heroics of Liszt, as evidenced by the Piano Sonata No. 4, the 'Keltic.'\u003cbr\u003eJames Barbagallo has the full measure of the sonata, reveling in its dash and fire, and is quite fluent in the legerdemain of the 'Twelve Virtuoso Studies' as well as the rustic reveries of the 'Fairy Tales' or the Six Heine Poems. 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Max Wilcox's engineering does full justice to Moravec's luminescent tone and ultra-discreet mastery of the sustain pedal. The runs and arpeggios in Debussy's Reflets dans l'eau, Mouvement, and Poissons d'or flow so naturally and unmechanically that you don't immediately notice how precise and even they really are. The hushed, sustained atmosphere of Debussy's Des pas sur la neige and Estampes' exotic overtones come alive through Moravec's acute sense of timing and tonal application.\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e Although his less-heroic, more inward path through Chopin's C-sharp minor Polonaise and Polonaise-Fantasie contrasts with Artur Rubinstein's firmer swagger, the approach proves equally valid. And Moravec coaxes half tints and inner voices from his selected Mazurkas and Waltzes without unduly underlining them (the trio of the C-sharp minor Waltz, for instance). Even if you already possess Michelangeli's Debussy Images, Richter's Estampes, or Rubinstein's Chopin, Moravec deserves equal space in your collection. A bargain not to be missed. [2\/26\/2002]\u003cbr\u003e --Jed Distler, ClassicsToday.com","brand":"Vox","offers":[{"title":"CD","offer_id":44626689655018,"sku":"047163510328","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/268783.jpg?v=1778345565"},{"product_id":"grainger-the-complete-piano-music-martin-jones-75379","title":"Grainger: The Complete Piano Music \/ Martin Jones","description":"\u003cb\u003eAn essential box set of Graingeresque delight.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e2011 marks the fiftieth anniversary of Percy Grainger’s death and the event has witnessed the reissue of a number of important recordings. This isn’t one such, because it’s remained in the Nimbus catalogue throughout, but I did want to draw brief attention to this super-abundant, characterful, and wholly marvellous five CD set of the complete piano music, played by the indefatigable, stylistically apt Martin Jones. He’s one of the undersung masters of a variety of repertoire – as good in Iberian music as he is in British, I’d suggest. \u003cbr\u003e   \u003cbr\u003e Here his encyclopaedic survey acts as a modern day cornerstone. You should hear his recordings, if you are excited by Grainger, and compare and contrast them with the composer’s own recordings which fortunately – all the 78s at any rate – have recently been reissued in a five CD set by APR [7501]. The experience is both exciting and diverting. But Grainger only recorded (and re-recorded) a fraction of his own pieces, whereas Jones has collared the lot. And how! \u003cbr\u003e   \u003cbr\u003e The first disc starts with some classic Grainger; the brio, clarity and speed of Jones’s take on \u003ci\u003eHandel in the Strand\u003c\/i\u003e is a tonic whilst \u003ci\u003eTo a Nordic Princess\u003c\/i\u003e rises to a passionate pitch of assertion. \u003ci\u003eIn a Nutshell\u003c\/i\u003e is a suite the charms of which seldom pall, and in this performance Jones crafts an unusually expressive \u003ci\u003ePastoral\u003c\/i\u003e, slow and spare then incrementally building up in sonority, power and speed. The playful and vibrant badinage of \u003ci\u003eThe Immovable Do\u003c\/i\u003e is especially well realised – one of the very best moments in this opening disc - though the reflective and beautiful \u003ci\u003eColonial Song\u003c\/i\u003e runs it, very differently, close. Those who have never come across the roistering cakewalk of \u003ci\u003eIn Dahomey\u003c\/i\u003e are in for a treat. \u003cbr\u003e   \u003cbr\u003e The second disc is given over to arrangements. To a degree it’s of less pressing interest to the Grainger novice, but it’s essential ground for those who want to understand his enthusiasms and the musical means by which he conveyed them. The opening of the Tchaikovsky Piano Concerto makes some fearsome demands on the intrepid solo pianist whereas the Brahms \u003ci\u003eCradle song\u003c\/i\u003e that cannily follows it is delightfully spun – lissom legato, not lion-hearted virtuosity. His arrangement of \u003ci\u003eNimrod\u003c\/i\u003e is probably quite well known but that of Rachmaninoff – the finale of the Second Concerto – probably less so. I must admit that the Dowland transcription, of \u003ci\u003eNow, O now, I needs must part\u003c\/i\u003e, is absolutely irresistible in Jones’s performance. He really does have the touch for refinement in these works. Of the other works, it’s interesting to contrast Grainger’s own 1929 78 of the \u003ci\u003eRosenkavalier\u003c\/i\u003e with Jones’s. Then there’s the convoluted tribute to Stephen Foster, the well-known Bach \u003ci\u003eBlithe Bells\u003c\/i\u003e and the same composer’s Fugue in A minor – it reminds one of Bach’s importance to Grainger, as performer and composer. \u003cbr\u003e   \u003cbr\u003e The third disc offers 28 examples of Graingeresque delight. Some are very concise folk-songs and traditional songs, others better known examples of his art. Let me just suggest a few which I think especially illuminating or unusual. If you’ve not come across \u003ci\u003eThe Merry King\u003c\/i\u003e, try to do so, and you won’t regret it; it’s hauntingly beautiful. \u003ci\u003eA Jutish Melody\u003c\/i\u003e was recorded by Grainger in one of his very rarest 78s – a double-sided 1929 Columbia. He takes it a touch faster than Jones. \u003ci\u003eSpoon River\u003c\/i\u003e is played with vibrancy but Jones is ever alert as to treble colouration. There are also the simple and complex versions of \u003ci\u003eOne more day my John.\u003c\/i\u003e \u003cbr\u003e   \u003cbr\u003e The fourth disc is a curious collection but that only makes it the more valuable for completists. We have Stanford’s \u003ci\u003eFour Irish Dances\u003c\/i\u003e, the deeply sensitive Fauré songs – what a shame Grainger didn’t record them – and the opening movement transcription of the Schumann Piano Concerto, which, like the Rachmaninoff, is probably best known by close readers of Grainger’s work in this field – a virtuosic single-voiced domestication, as it were, of the concerto literature. Another such is the better remembered Grieg Concerto first movement, also in this disc. His homage to Delius comes via the \u003ci\u003eAir and Dance\u003c\/i\u003e – but there are plenty of things to occupy the eager ears in this disc. Uppermost amongst them we find \u003ci\u003eAngelus ad Virginem\u003c\/i\u003e, a lovely carol, and then some of Grainger’s early works. These include the Schumannesque Klavierstücke in E, and the other early pieces which are variously awkward and Brahmsian or, in the case of the one in B flat, incomplete. There’s also the one in D, which Grainger dedicated to his father. \u003ci\u003eThe\u003c\/i\u003e \u003ci\u003eBigelow March\u003c\/i\u003e, an insouciant piece, was actually written by Ella Grainger, Percy’s wife. \u003cbr\u003e   \u003cbr\u003e The final disc has bigger works, ending with \u003ci\u003eThe Warriors\u003c\/i\u003e. It also includes those pieces written for four hands on one piano, four on two pianos, six on one piano and six on two pianos. \u003ci\u003eChildren's March: \"Over the Hills and Far Away\" \u003c\/i\u003eis a sonorous and ebullient example of Martin Jones and Richard McMahon playing on two pianos. But all these pieces are richly exciting and attractive. In the midst of all this don’t overlook the calm solo Grainger fashioned from William Byrd – \u003ci\u003eThe Carman’s Whistle \u003c\/i\u003eor indeed Gershwin’s \u003ci\u003eEmbraceable You\u003c\/i\u003e. The resilience of the performers and the clarity of the six-handed, two-piano, arrangement of \u003ci\u003eThe Warriors\u003c\/i\u003e elevates it to a must-hear experience. \u003cbr\u003e   \u003cbr\u003e I hope this has given some indication of why this is so essential a box for admirers of the composer. I appreciate that Nimbus’s sound in these 1989-91 recordings is not to everyone’s tastes, but it will certainly do, and the booklet notes are classy. What a splendid undertaking this was. \u003cbr\u003e   \u003cbr\u003e -- Jonathan Woolf, MusicWeb International","brand":"Nimbus","offers":[{"title":"CD","offer_id":44626677793002,"sku":"710357176722","price":28.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/204038.jpg?v=1778295033"},{"product_id":"greensleeves-english-lute-songs-solos-baird-mcfarlane-247051","title":"Greensleeves - English Lute Songs \u0026 Solos \/ Baird, Mcfarlane","description":"\u003cp\u003eIncludes galliard(s) by Anthony Holborne.  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This cross-fertilisation between the traditional and art music of Scotland also serves helpfullly to undermine our modern habit of catagorising music, an irrelevance which would never even have occurred to James IV or his 'fithelaris'! - D. 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Fortunately, this disc, which includes four of Haydn’s relatively late trios (three of them written at the same time as the London symphonies) is almost entirely without blemish. The Kalichstein– Laredo–Robinson Trio combines three formidable soloists who came together in 1977. Joseph Kalichstein’s keyboard technique is impeccable, with a consistent evenness and lightness of touch that is simply breathtaking. Jaime Laredo, in the main sparkling in his performance, has a slight tendency to over-emphasis, although generally there is a marvellous sense of ebullience in the playing. This disc includes the G major Trio (Hob XV\/25) with its famous ‘Gypsy’ Rondo, but for collectors of ‘purple patches’, the E minor Allegretto of Hob XV\/28 with its enigmatic chromatic theme in octaves will certainly surprise. 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He may not inflect the Fifth Symphony's slow movement as ravishingly as Glenn Gould, but he faces the finale's notey hurdles without resorting to Gould's overdubbing tactics.\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e The Second Symphony is even better. Scherbakov's swift and steady first movement introduction slides into the Allegro con brio with insidious ease, and his heartfelt, pellucid Larghetto virtually plays itself. No tempo compromises in the Scherzo and Finale are neccesary under this pianist's pliable, secure hands. If Naxos continues this segment of its Liszt cycle with Scherbakov, it will have a worthy foil to counter Cyprien Katsaris' more personalized idiosyncratic Beethoven\/Liszt symphony survey. The resonant, full-bodied, and clear sonics clinch my enthusiastic recommendation.\u003cbr\u003e --Jed Distler, ClassicsToday.com","brand":"Naxos","offers":[{"title":"CD","offer_id":44626456445162,"sku":"730099545723","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/299911.jpg?v=1778347670"},{"product_id":"pachelbel-complete-organ-works-vol-7-antoine-69817","title":"Pachelbel: Complete Organ Works, Vol. 7 \/ Bouchard","description":"\u003cp\u003eIncludes fugue(s) for org by Johann Pachelbel.  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I would call it definitive -- everything exactly right -- one by which to measure all other performances of it.\" To LaMontaine, it's \"nothing less than stupendous.\"\u003cbr\u003e  \u003cbr\u003e Salvatore's interest in American music extends back into the 19th century, but he devotes this recording to \"a lost generation of works\" by American composers whose personal styles blossomed in the 1930s and 1940s -- styles marked by new harmonies and rhythms an ocean apart from European influences that once dominated American music.\u003cbr\u003e","brand":"Cedille","offers":[{"title":"CD","offer_id":44626418270442,"sku":"735131901024","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/678970.jpg?v=1778188680"},{"product_id":"music-of-manuel-de-falla-mata-simon-247083","title":"Music of Manuel de Falla \/ Mata, Simón Bolívar Symphony","description":"Falla, M. 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Although among plucked stringed instruments we more often hear from the guitar, lute, and theorbo, in Renaissance Europe the harp held enough importance that, although comparatively small in quantity, music was published specifically for it, most notably in Spanish manuscripts. Given the nature of the instrument, primarily its role in accompanying songs and dances, much of the harp's solo music reflects its association with those traditional, popular forms, from engagingly melodic chansons to highly rhythmic dance styles. We get a fair selection of all of these kinds of pieces among the disc's 25 tracks, but on several tunes Baxter also is joined by instruments such as Baroque violin, an additional harp, guitar, and even bagpipes. For the pieces with bagpipe, the harp is fitted with \"brays\", which are special wooden pins set in the soundboard so the vibrating string will buzz against them. 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